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Day 10 Assignments
Reply to post your assignments.
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9 Replies
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What I learned doing this assignment – that I need to attempt to get apprehension surprise and shock into each scene, where I can.
Opening scene – outline.
Karissa, 22, leaves a party. Some deuce-bag is hitting on her. She declines his offer to drive her home. He tells her it’s not safe out there. (Apprehension) Especially across the park. She goes anyway. It’s industrial – off the beaten path. Between buildings that cast eerie shadows. The buildings lights go out. (Surprise) Then the street lights quit. Total blackness. She asks Siri to put her flash light on.It comes on – then fails. One light appears – then a figure in a black cloak. (Shock) She freaks out, turns and runs – through bracken and bushes – scraping her skin – she looks behind- a meat clever is raised over her head – but its a shadow – but its deadly, and smashes into the middle of her head – splits her down the middle. Her body butterflies-out into two pieces. In the distance the figure looks over the mess.
FADE IN
EXT. PARTY HOUSE – NORTH SPRINGFIELD – NIGHT
Guys drinking beer, leaning against cars. The DOOR opens – MUSIC LOUDER – the guys turn and look at the babe at the door.
KARISSA
Thanks for the invite, I had a good time.
CODY
You sure you don’t want a ride home? I wouldn’t walk across that park at night.
KARISSA
I’d be safer in your car?
CODY
It would be more fun.
KARISSA
I’m sure it would. It’s a beautiful night. I’ll take a rain check.
EXT. PARK TRAIL – NIGHT
Street lights illuminate the pathway. Karissa strolls, nonchalant, reading and sending text messages.
Text message: Why are we going to Eureka?
One of the lights shorts-out, flashes on and off, and then it’s dead. It doesn’t concern her.
Text message: He’s hired an old theatre. Sound’s weird to me.
Text message: Why?
Text message: I don’t know. He’s weird.
Text message: Pretty creative. He pays well too.
Text message: True that. I’ll see you tomorrow.
As she places the phone in her bag another light goes out, then another. She’s panicked and then boom – they all go out. BLACKNESS. We HEAR her voice – panicked.
KARISSA
Siri – turn on the flashlight.
The light comes on. She quickens her pace. Up ahead a street light turns on, there’s a CLOAKED FIGURE underneath it. Karissa panics – turns and runs for it. Another light comes on with the same cloaked figure underneath. Karissa veers off into the bushes. Running harder, branches whipping into her face, scraping her arms. Something is behind her, she knows she’s in danger, but can’t se anyone when a SHADOW of a meat clever cuts down her head, neck and body – which butterflies-out into two parts. In the distance the cloaked figure looks on.
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Carmen’s Level 1 Horror Scene
What I learned doing this assignment was that having the specific elements to target made this scene – although short, effective and establishes horror and shows of the horrors that are to come. What we have done up to this point, made this specific assignment so much easier than starting from scratch!
INT. SALVATORE HOME – NIGHT
Fredo and Cecilia are in bed.
FREDO
Feels weird here.
CECILIA
I am not fucking in your bed.
FREDO
You did before.
CECILIA
He wasn’t gone then.
FREDO
They wouldn’t it be easier to do it at my place, then?
CECILIA
No. And, I don’t want to smell like her.
FREDO
You miss him, is that it?
CECILIA
What if I did?
Fredo gets up to go to the bathroom. Cecilia grabs some cream out of her nightstand.
She feels something on my shoulder. She swats it away. (Apprehension)
Beat.
She feels it again, but now there is pressure. She gets up to look in the large mirror.
There’s a large handprint on her shoulder. She tries to rub it off.
INT. OWNER’S BATHROOM – MOMENTS LATER
CECILIA comes in and grabs a washcloth. She puts soap on it. She tries to “wash” it. She SCRUBS harder and harder.
It gets worse. Fredo comes up behind her, KISSING her neck.
FREDO
Let’s go back to bed.
She looks at him, disgusted.
CECILIA
Don’t you see it?
She is standing in front of the mirror and he raises his head.
FREDO shakes his head.
CECILIA turns to show him and her face is melting off. (SURPRISE)
FREDO falls back onto the tile floor.
FREDO
Christ, Cecilia!
She turns back around. All is normal.
CECILIA
What? What?
FREDO stands up. He turns her around. She looks normal.
CECILIA
What did you see?
FREDO
Nothing, it must’ve been the light or something.
CECILIA
Well, you looked pretty damn scared.
FREDO
I’m sure I just need to sleep.
FREDO grabs her hand and they walk back to the bedroom.
INT. OWNER’S SUITE – MIDDLE OF THE NIGHT
A storm has picked up.
THUNDER CRACKS.
FREDO sits up in bed. He hears a loud GUNSHOT.
On the bedside is his gun, it is smoking as if someone just shot it.
CECILIA is out cold.
FREDO trembles as he reaches his hand out to touch the gun.
The image of his young son, Antonio appears at the foot of the bed. He is mangled, his skin half torn off. He is WEEPING. (SHOCK)
ANTONIO
You did this, father. It has begun!
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John Garofolo’s Level One Horror Emotions
What I learned doing this assignment is about nuancing different levels of reactions/emotions.
Scene Outline
INT. BRIDE TO BE’S FAMILY HOME (VARIOUS ROOMS) – DAY
A GROUP OF SEVEN YOUNG WOMEN, 20’s and the bride-to-be’s STEP-MOTHER are getting ready for a family and friends co-ed bridal party. We learn about the characters through their discussion and are aware that the house is the family home of the bride-to-be and her step-mother, as well as see the group dynamics. After the dinner, they’re coming back to the house for an after-party with just the bride’s inner circle.
It’s October 30th.
The Master bedroom, bathroom, bride-to-be’s old bedroom and bathroom are crowded with garment bags, make-up kits and eight women trying to get ready to go out.
There are several occasions where the bride-to-be and other bridesmaids are startled by people innocently walking into a room and were unseen or unheard because of their laser focus on putting on hair and make-up or can’t hear because of a very LOUD BLOW DRYER.
There’s also a discussion triggered by a group of howling coyotes, which, apparently, have become more of a concern, due to more sightings in the neighborhoods and small dogs being attacked or just disappearing.
Just before they’re ready to leave, there’s a knock at the door. The bride-to-be and Maid of Honor answer the door and are surprised to see two adult sized trick-or-treaters a day early. One is dressed like Michael Meyers and the other is dressed like Jason Voorhees.
The bride-to-be is a little surprised when the two characters wordlessly put forth their pillow cases indicating they’d like a treat. The bride says, “aren’t you a little early for Halloween?” No answer. They push forth their bags.
A couple of the other bridesmaids join them at the front door and react to the early bird trick-or-treaters, scary looking costumes, apparent age.
The bride-to-be, tells the two to wait a minute and calls for someone to get some candy bars from the counter. One of the four at the door runs back toward the kitchen and returns in a few beats with a handful of candy bars and puts it in the two bags and cheerfully ends with “Happy Early Halloween, boys.”
Jason and Michael stand there for a moment before all the girls say “Happy Halloween.” in unison, when a chorus of coyote howls startle the bride-to-be and she shuts the door on them.
They all look at each other and say things like “that was weird,” pretty big teenagers,” “coyotes creep me out.”
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INT. SAMANTHA’S FAMILY HOME (VARIOUS ROOMS) – DAY
A GROUP OF SEVEN YOUNG WOMEN, 20’s and the bride-to-be’s STEP-MOTHER are getting ready for a family and friends co-ed bridal party.
The Master bedroom, bathroom, bride-to-be’s old bedroom and bathroom are crowded with garment bags, make-up kits and eight women trying to get ready to go out.
INT. SAM’S BATHROOM – DAY
SAMANTHA, “Sam”, early 20’s, the bride-to-be is blow-drying her hair in her childhood bathroom. She’s lost in the moment, focusing on her hair.
Suddenly, SARAH, early 20’s, one of the bridesmaid’s appears in the mirror and walks in the bathroom, startling Samantha, who jumps and lets out a small yelp.
SAMANTHA
Oh my God! I didn’t see you.
SARAH
I’m so sorry, I didn’t mean to scare you!
She rummages through a pile of makeup kits and hair brushes.
They can’t help but laugh.
SAMANTHA
(laughing)
You almost gave me a heart attack!
SARAH
I didn’t mean to. I just came to grab this.
She picks up a small make-up bag from the bathroom countertop.
SARAH
I’ll make more noise next time.
SAMANTHA
Thank you.
She exits.
Sam chuckles to herself and gets back to her hair.
INT. UPSTAIRS LANDING – DAY
Around the corner Sarah is whispering in the ear of OLIVIA, early 20’s, the bridesmaid and Sam’s best friend.
There’s clearly a conspiracy at work here.
Olivia motions for BROOKE, early 20’s who’s walking up the stairs to come over.
They whisper and make hand signals and finally make their move.
Olivia takes the lead with the other two girls close behind.
INT. SAM’S BATHROOM – DAY
Like before, Sam is deep in concentration, putting the finishing touches on her hair.
The three marauders suddenly jump into Sam’s view in the mirror and yell.
OLIVIA/SARAH/BROOKE
Gotcha!
Sam Screams.
The other three laugh like hyenas
SAMANTHA
Jesus Christ! I’m going to kill you.
The laughing continues.
OLIVIA
You can’t kill me. Who’s going to be your Maid of Honor?
SAMANTHA
Anybody, you rat bastard.
They laugh.
Their laughter is broken by the PIERCING SOUND of COYOTES HOWLING.
It SOUNDS like its right outside the bathroom window.
BROOKE
Whoa. What the hell’s that?
SAMANTHA
It’s just the coyotes.
BROOKE
(unnerved)
It sounds like they’re right outside.
SAMANTHA
They could be.
SARAH
Seriously?
SAMANTHA
Seriously.
OLIVIA
They’re just dogs.
Sarah and Brooke look a little nervous.
SAMANTHA
Don’t listen to her. They’re more afraid of you then you are of them. Unless you’re a little dog. Or get lost on dark trail in the middle of the night.
(A beat)
How do I look?
OLIVIA
You look great. I’m sure David will approve.
There’s a knock on the door.
OLIVIA
(yelling)
Can someone get the door?
INT. DOWNSTAIRS BATHROOM
Three girls, TORIE, JULIA and SARAH, early 20’s, are crowded in the bathroom.
TORIE
I’ll get it.
She heads out to the front door.
INT./EXT. ENTRYWAY – DUSK
Torie pulls the door open without looking and sees two adult-sized figures, one dressed like Michael Meyers from Halloween and Jason Voorhees from Friday the 13th stare back at her.
At first, Torie’s a little puzzled and then yells into the house.
TORIE
There’s two trick or treaters. What should I do?
INT. SAM’S BATHROOM – DUSK
Sam, Olivia and Brooke AD LIB surprise.
INT. UPSTAIRS LANDING – DUSK
Olivia runs over to the stairs and looks down at Torie and the open door.
She can see the two trick-or-treaters standing there, Torie wondering what to do and Julia running over to the front door to see what’s going on.
INT./EXT. ENTRYWAY – DUSK
TORIE
You guys are a little early. Halloween’s tomorrow.
The two trick-or-treaters wordlessly put their bags out.
JULIA
Great costumes guys, but aren’t you a little old for trick-or-treating?
TORIE
Don’t be rude, Julia. My brother was six-two when he was thirteen.
(yelling)
Sam! Do you have any Halloween candy?
The two trick-or-treaters put their bags out again.
Olivia joins the group and looks out at the two. It’s getting a little awkward now.
OLIVIA
I know where it is.
She exits.
INT. UPSTAIRS LANDING – DUSK
Sam goes to the stairs and looks to see the trick or treaters.
The Master Bedroom door opens and Sam’s step-mother, KAITLYN, early 40’s, attractive, rushes through.
KAITLYN
Did someone say trick-or-treaters? I want to see them.
She runs down the stairs into the entryway and Sam watches her go to the door and peak out.
INT./EXT. ENTRYWAY – DUSK
KAITLYN
Wow. Look at you two. Great costume boys.
The trick-or-treaters lift their bags up again.
Olivia pushes through the group and drops a handful of candy into each of the bags.
The two trick-or-treaters turn and walk away without saying a word.
Everyone is a little unsettled by the strange encounter.
OLIVIA
(yelling)
It’s okay if you say, thank you!
TORIE
Chill out Olivia, their just awkward teenage boys.
KAITLYN
They probably just need to get laid.
The younger women can only cringe.
PIERCING YELPS from a pack of coyotes startles them and Julia slams the door shut.
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Charles Ferrell’s Level 1 Horror Emotion Scene
What I learned doing this assignment is concept of base horror emotions versus escalated states.
EXT. BOAT/ALONGSIDE SHIP
The group nears the area of the cargo ship to fish in the schooling group of fish that were spotted.
Apprehension: It doesn’t make sense why dolphin would be so active near a cargo ship, something is not right here.
Surprise: They discover that the schooling fish are shark. Down below the surface they can faintly see a feeding frenzy.
Shock: A young crew member appears in the entry porthole above the water line, waving his hands and seems to have blood on him.
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What I learned from doing this assignment is that having the well planned outline I was able to have flow and achieve the desired affect, even if there wasn’t a death.
Opening Scene- outline
Sheriff Mason, 50, and her brother Dan, 50, show up at Dr Xeno’s late at night. Dan’s eye is bleeding and Xeno asks to see the damage. (Shock) The eye is dangling out of the socket and Xeno says he can help. (Apprehension/Anxiety) With Dan in the chair, Xeno tells both that he has to loose the eye as it will cause infection to his brain. Xeno lets them know he is not a surgeon and has only a local anasthetic. (Apprehension) Mason leaves to deal with Dan’s mess. Xeno has dan alone and offers him free care for his eye’s donation for “research.” (Surprise) Dan agrees, and the eye is cut out fast. (Shock/Surprise) Xeno enters his eye room and puts Dan’s eye next to another pair of eyes.
FADE IN:
EXT. XENO’S HOME – NIGHT
Red and blue lights flash on a sheriff’s SUV as it screeches to a halt behind a Volvo family wagon with a vanity plate, ICU.
SHERIFF MASON, woman, 50’s hops out and gets DAN 50’S biker, out of the back of the SUV. Dan is holding a blood soaked bar rag to his eye.
SHERIFF MASON
Com’on Dan did ya need to get my car all bloody man.
Dan slouches over with some shame as they hurry to the door. There is a swing sign on a pole next to the stairs that reads DR XENO O.D.
DAN
Sorry sis.
SHERIFF MASON
I swear if you weren’t my brother I would have locked you up for that shit.
Before they get to the last step the light comes on, and the door opens. DR XENO 40’s stands in front of them startling Dan. He speaks softly and precisely.
DR XENO
Lets see what we have here.
Mason shoves Dan, who removes the bar rag gently to his nose revealing his eye is not in it’s socket. Mason sucks her teeth in disgust. Xeno is mesmerized and can’t look away.
DR XENO
Come Dan lets get you downstairs.
SHERIFF MASON
Dan cover that shit up it’s unsettling.
Dan complies as they follow Xeno inside.
INT. XENO’S OFFICE – MOMENTS LATER
Dan lays in a Dr’s chair still holding the rag to his eye. Mason sits behind him with a disgusted look on her face.
DAN
So you think we can pop it back in doc?
DR XENO (O.S.)
I don’t know yet I have to take a closer look.
Xeno steps from around a corner dressed in smocks and a mask. He has a tray with a scalpel, syringe, and other small instruments. He pulls up his chair and pulls out his light.
DR XENO
Dan please remove the rag.
Dan complies gently. Xeno gloves up and looks at the eye with the light and checks the pupil, iris, lens and studies the optic nerve and puts the light away.
Mason turns her head and gags a bit.
SHERIFF MASON
God Damn! Ugh!
DR XENO
You can wait upstairs if you want Sheriff.
She nods and stands.
SHERIFF MASON
Thanks doc. Dan I will never forgive you for this shit. Doc can I just leave him here, like forever?
They all laugh a little. Xeno keeps laughing until he snorts making the other two uncomfortable.
DR XENO
Oh you were serious? No he can’t stay with me forever, unfortunately his eye does.
Xeno has a little chuckle and looks back and forth at the two of them. Mason looks at Dan then back at Xeno. Dan is in shock and can’t make words just sounds.
SHERIFF MASON
You sure doc, I mean it’s jsut dangling there and it looks like it’s still intact.
Xeno gently lifts the eye and points to the iris and lens.
DR XENO
Sorry Sheriff iris is damaged beyond repair, see how it’s cloudy?
Mason grossed out looks at the eye, pretending she sees what Xeno sees. She leans back and crosses her arms.
SHERIFF MASON
So what’s that mean?
Xeno lays the eye gently back down and grabs the syringe from the tray. He shows it to Dan and Mason.
DR XENO
Look I’m not a surgeon but they eye is dead, and with the bleeding and this bar rag is most likely infected. Which means his eye will rot in his head and could infect the rest.
Xeno waves the syringe over Dans head in expatiation of how the infection would spread to his brain. Dan watches in terror.
DAN
I don’t like needles man.
SHERIFF MASON
I can’t believe you. Eye popping out of your head and you still have that kiddy fear of needles.
Xeno’s eyes dart back and forth, and his right eye begins to shake and tear up. He uses the back of his hand to wipe away the tear and looks up for a second.
Mason watches this with cops eyes.
SHERIFF MASON
Doc you okay?
Xeno nods, takes a deep breath and exhales as he looks at her.
DR XENO
Yeah. Just a bit tired, sorry. Look Dan this is just a local and it’s not going to put you out. So you will see and might feel what is going to happen. Now I am no surgeon and am doing this to the best of my ability to save your life. Do you want me to move forward? (Beat) Sheriff you’re my witness.
Mason nods in agreement.
DAN
Sure man, do your du..
Xeno sticks him quickly, and looks at Mason who nods in approval.
DAN
Fuck man! Warn a guy, next time.
SHERIFF MASON
Let’s hope there’s no next time. Anyhow, Doc I have to go and clean up his mess. Will he be able to recover here for a couple hours until I get him.
Xeno looks at dan intensely and then at the sheriff.
DR XENO
Yes, of course! We’re all members of this fine community. I’ll treat him like he’s family.
SHERIFF MASON
Phif. He could be so lucky. (to Dan) I’m outta here dip-shit you listen to the doc, or I’ll throw you in the can. Got it!
Dan nods and sighs. Mason is halfway up the stairs leaving.
DAN
Stop treating me like a kid.
SHERIFF MASON
You’re 50 and still act like one. Just look at your face. Dip! Shit!
They hear the door close up above and Dan looks at Xeno nonchalunt.
DAN
Just make me pretty doc.
DR XENO
I think I can do that, but first let me ask,
Xeno leans over with the scaple in his hand hovering over the good eye. Dan’s eye darts back and forth he is breathing heavy.
DR XENO
Would you consider donating your eye to me for research?
Dan watches as the scalpel moves out of his vision.
DAN
Um. Do I have a choice?
Xeno holds the scalpel on the optic nerve barely slicing it.
DR XENO
Do you feel that?
DAN
No.
DR XENO
Well if you were inclined to donate the eye, I would waive all of the charges for this.
DAN
Free?
DR XENO
Yes. How does that sound?
DAN
Fuck yes!
Snip!
DAN
Ow!
INT. EYE ROOM – LATER
Oak double doors swing open and Xeno steps in holding a jar close to his chest. He looks up at a bookshelf that holds no books, but jars of eyes!
The jar in his hands is Dan’s and he places it next to a jar with a pair of blue eyes floating in liquid.
DR XENO
Thank you Dan, what a perfect addition.
The doors close.
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Wayne’s Level 1 Horror Emotion Scene
What I learned – to start to consciously specifically construct the moments and beats of emotion.
Outline:
EXT—PARK BESIDE STREET—NIGHT
Surveillance Camera zooms in on AGENT PETERS 30, very fit.
He is scared, wary, and about to try and save his life. A breath, a look, hesitation, and then a dash into his car.
As he closes the door a mysterious cloud with a hint of a face slips in.
As if the car were a blender, blood and chunks of the agent splash onto all windows.
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
Scene:
EXT. PARK NEAR STREET-NIGHT
It’s dark. Wind is blowing. Half the screen is black. As AGENT PETERS slowly turns his head a wary profile expels a mist the catches light.
Parked in view is a Porsche 911. Agent Peters slowly turns the other way. He’s looking for someone or something that might be planning to kill him. His heart is pounding louder and louder. (Apprehension)
A breath, a look, hesitation, and then a dash towards the car.
Several feet from the car he stops, looks around, smiles.
PETERS
“Where are you?”
He walks to the car and opens the door, slowly looks in. There is nothing there. (Surprise) He gets in.
As he closes the door a mysterious cloud with a hint of a face slips in.
PETERS
“Stella?”
As if the car were a blender, blood and chunks of the agent splash onto all windows. (Shock)
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
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Mark Dotz
What I learned form this assignment is – I really like writing in the creepy moments. I think I need to stop cursing so much in the writing but it is the way I would react if crazy stuff like this was going on.
EXT. VANDERS MANSION- NIGHT
The group of teens pull up in their beat up old car. MITCH, our jock who is kinda of a jerk, is driving. CAMERON, the snob, is in the shotgun seat and our hero SHANNON and her best friend BOXIE, an athletic non-binary person, ride in the back seat with BRAD, the hopeless romantic and musician who can’t really play that well. As the car pulls up the teens finish sharing stories about their different version of the Vanders haunted mansion stories. Mitch stops the car and gets out.
MITCH
Well, I heard that she had these white dogs that she cut the vocal chords out so they couldn’t bark. So when you look up at the house, there are just these dogs barking away with no sound coming out!
All of the teens pile out leaving Boxie struggling to get out of the middle seat. Cameron is talking to people while she scrolls on her phone.
CAMERON
Why does everyone in your car smell like gym socks?
Brad lights up a joint and looks up at the mansion.
BRAD
It’s because his car smells like gym sock.
The big blue gates of the mansion steal the scene. They are old, the paint is cracking but yet the blue still has an almost lively florescence to them. Boxie gets out. She grabs the joint from Brad.
BOXIE
Holy shit! This place is huge! And creepy as hell.
The crew crowds near the trunk of the car.
SHANNON
I don’t know man. I think we should leave this house alone.
Suddenly a thumping sound.
Thump!
Boxie and the crew jump at the unexpected noise!
THUMP! THUMP!
BOXIE
What the hell?
Mitch laughs.
MITCH
Ha ha! Come on out dude.
Mitch pops open the trunk to reveal DEAN, a squeamish nerd (any race/ethnicity). Dean has been smashed in there this whole drive. He peels out of the trunk. Brad offers him a joint.
DEAN
I’m good.
He passes it back. Boxie notices a volley ball in the trunk.
BOXIE
Is that ours? Did you steal a volleyball from us?
MITCH
Hey! It landed in the football field so it’s fair game.
Mitch grabs the ball and starts kicking it around.
SHANNON
It’s not a soccer ball you idiot.
MITCH
Fine then.
Mitch picks the ball up and starts setting it like a volleyball and he pops it over to Brad who puts his fist together and taps it gently into the air. Mitch leaps up and spikes the ball over the creepy blue fence.
BOXIE
Shit.
MITCH
Shit.
DEAN AND CAMERON
Shit.
SHANNON
I don’t think we are getting that ball back today.
Mitch starts walking closer to the creepy blue gate. The fog roles in, the moon lights the path ways to the mansion whish sits a good 50 feet from the gate. Mitch looks closely.
MITCH
It’s a crack.
Brad runs over to examine it too.
BRAD
That’s not normal?
The rest of the crew stay back a bit. Cameron is busy on her phone and then takes a picture of the gate.
CAMERON
Fuck! I can’t post it. Their is no fucking signal up here! Fucking budget carrier. I hate my dad.
She throws the phone on the ground.
CAMERON
Oh god! What have I done!
Cameron drop stop her knees and picks up her phone and stares at it.
CAMERON
I’m so sorry.
Dean is reading a sign in german.
BOXIE
What does it say Dean?
DEAN
It says electrified.
The camera pulls back to reveal an image of an electrocuted man on the warning sign.
Suddenly Mitch starts shacking like an electric shock is hitting him.
MITCH
AAAH!
The crew has a jump scare and Brad starts to panic and runs off a bit. Mitch drops the act
MITCH
Where the hell are you going Brad?
Brad stops panicking and turns around.
BRAD
I was going to get help, maybe?
The crew laughs at him. Boxie gets up close and personal to her crush and acts cute.
BOXIE
My hero!
Brad blushes, but likes the attention from Boxie.
Meanwhile, Mitch transverses forward into the gate.
MITCH
Oh look? I can see the ball right there.
He crosses into the property. There is a beat change, the sound of wind picks up. Through the fog the image of what might be a white volleyball can barely be scene.
MITCH
But I’m not going to get it. The ball is yours Boxie.
Boxie is done with this game. She starts to head into the gate opening.
MITCH
Careful Boxie, don’t get shocked.
Mitch touches the inside of the fence, he is suddenly thrown back and he lands on the ground.
BOXIE
Mitch?
BRAD
Oh shit!
Boxie, Dean, Brad, Cameron and Shannon all run inside the gates and over to Mitch to help him. As they all hover over his motionless body, he cracks a smile.
MITCH
Ha ha! How many times guys? How many times are you going to fall for this? You all are suckers.
Shannon kicks his side ribs.
MITCH
Hey! That hurts.
Suddenly, the big blue gates slide closed, pushing leaves and dirt out of their way with an almost mythical force their is a slight rumble in the air as the crew realizes they are now inside the property.The gate’s lock falls closed.
CAMERON
Did you all see that??
BRAD
What just happened?
They all stand up and take in the fact that they are on the other side of the fence now. Mitch freaks out.
MITCH
Oh shit man, oh shit. I got to get out of here.
Mitch runs up to the gate to open it and is zapped by a big powerful electrical shock. His body is thrown back 30 feet.
CAMERON
Mitch!
The crew runs over to Mitch following Cameron’s lead. Cameron huddles over his smoldering body.
CAMERON
Oh God! Mitch!
Smoke rises from his burned body. Cameron starts crying. Dean starts to take focus of the elements around them. He looks over at what we thought was the volleyball.
DEAN
Guys?
The crew is still fretting over their fallen friend.
DEAN
Guys? This isn’t good.
The crew starts to take notice. Over by the bushes where they had suspected a volleyball there is movement.
Shannon slowly stands up and starts to slowly look over her shoulder.
SHANNON
Something’s not right.
As Shannon slowly turns her head she can start to see two all white dogs come out of the shadows. The snarling of the dogs can be heard. Drool drips form their ghostly faces.
SHANNON
We need to get out of here.
Cameron starts to run to the fence. Boxie grabs her arm.
BOXIE
We’re not going that way.
Boxie points down at Mitch’s dead smouldering corpse.
BOXIE
Not unless you want to go with him.
Cameron stops and turns to look at the Mansion.
CAMERON
Well, we need to go to the house, and get help?
BRAD
That house? The creepy fucking house?
BOXIE
Well, I’m not staying around to see what those things do.
Boxie points at the dogs. The dogs start slowly advancing on the crew. Then they start opening their mouths and barking, with all the furry of a guard dog but with no sound. As they bark they lift their necks just enough to reveal unhealed scar tissue on their necks.
CAMERON
Oh God! It’s true.
Cameron starts running up the hill towards the house. The dogs slowly advance.
Boxie looks at Shannon for advice.
BOXIE
What do you think sister?
Shannon doesn’t lost eye contact with the dogs.
SHANNON
I think we run and take our chances up there.
She points up the trail towards the mansion. With Shannons sudden lead, the crew starts running up the hill.
Cameron trips. Brad swoops and arm down to help her up. Her ankle is caught in a root overgrowth. She can’t free it without losing her shoe.
BRAD
Fuck it. Take it off, let’s go.
Cameron fiddles with her foot. Shannon stops to help.
Meanwhile the dogs slowly advance, and then as the fog clears behind the two dogs we see there is at least 3 more behind them, and maybe more in the fog.
SHANNON
That’s enough for me.
Shannon rips Cameron’s foot out of her shoe.
CAMERON
Dammit! Those are Armani (or some kinda fancy shoe)
Boxie grabs Camerons hand and pulls her up the hill.
BOXIE
Lets go girl!
We see in the distance there is a large number of white dogs now.
EXT. MANSION FRONT ENTRANCE – NIGHT
Standing in front of the doorway, the crew collects up, bottle-necked at the door. They look back, although slow, the dogs are advancing.
BRAD
What do we do?
The front door creaks open on it’s own, showing inside of the mansion, a dark almost candlelit front entrance way with large winding stairs to a second story. The crew is hesitant. Shannon studies the scene. Cameron is crying.
CAMERON
Where’s Mitch when you need him!?
BOXIE
Fuuuuck!
Boxie suddenly shoves everyone in the front door with all her might.
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Larry Fraller’s Level 1 Horror Emotion Scene
What I learned doing this assignment is to build emotional intensity gradually, after first showing the audience what danger really lurks ahead. But I don’t know how to do that with this story, unless I do put the Eumenides first. As witches, as in Macbeth. But for now, I’m doing the opening scene.
OUTLINE OF SCENE FROM ACT 1
Apprehension
Alessa enters and greets them about following traditions
Surprise
Lorette paints picture of castle with prince riding towards her on a steed with a falcon on his arm. Picture seems to come to life as prince drives a white car from castle, but in her imagination he’s riding a white horse.
Shock
In the castle window, a woman appears with black holes for eyes, which Lorette can see, but did not paint. Chambers doesn’t see it, says Lorette’s imagination is running away from reality.
This is the opening scene, as it stands now.
SCENE:
EXT. COTTAGE – DAY
LORETTE sits at an easel in the sunlight, painting the castle on the side of the mountain to the east of them with a prince riding towards them on a white steed.
Her husband CHAMBERS plants seeds by hand in rows of rich black soil.
APPREHENSION:
ALESSA, wrinkled hunchback woman, steps from behind a tree, watches before advancing to the young couple.
Her sudden appearance so startles Chambers that he scatters a handful of seeds everywhere.
Lorette slashes a blob of black paint above the castle.
LORETTE
Oh my!
ALESSA
I’m Alessa. It’s my task to welcome strangers to our community.
CHAMBERS
Well, you’ve certainly made an impression on my wife. Lorette gets so deep into her painting, she hardly knows there’s a world outside her fantasies.
Alessa digs in the pockets of her scarlet apron for a mason jar of honey. She offers the honey to them.
ALESSA
May you both experience the richness of our life here. We raise bees for honey, and as pollinators for the castle vineyards. The vines are as ancient as the soil itself. No one touches them except the vintner and his servant girl.
Chambers opens the jar and dips his finger in.
Before he can touch the honey, Lorette snatches it from his hand and gives him a scolding look.
LORETTE
Chambers knows better. But he forgets about touching food with his hands. Especially something easily contaminated. Can you believe he dips his spoon in yoghurt? After he licks it. Everyone knows saliva digests dairy. Yuck.
She pours a slow drop of honey onto her finger, touches her tongue to it.
Suspense strangles the air, awaiting Lorette’s approval or not. She grins ear to ear. Pours large goops of honey, licking her fingers like a child with ice cream.
CHAMBERS
She’s a vegetarian.
ALESSA
There’s no meat in our honey.
CHAMBERS
I only meant –
SURPRISE
ALESSA
Then she’ll be pleased with my next gift.
She lifts a small basket from her apron. When Chambers opens his hand, Alessa turns away from him.
CHAMBERS
For her. I get it. Woman to woman.
ALESSA
Your hands are covered with soil.
Chambers wipes them on a rag.
Alessa lays the basket at Lorette’s feet.
CHAMBERS
But her hands are slimed with your other gift. Much nastier than mine.
ALESSA
She understands the morality of food.
Alessa cleans Lorette’s hands with a potion from her apron.
Chambers holds out his hands, but Alessa stows the vial into her apron.
ALESSA
No no no! Do not open it unless your garden dies, and you’re bones poke through from starvation. Learn our traditions and follow them. Both of you.
LORETTE
But how –
ALESSA
Do what others do. Avoid what others avoid. By all means, do not violate our moralities.
With that admonition, the old woman disappears into the forest.
Neither touches the basket.
LORETTE
Did you feel that cold draft when she opened the basket? And I’ll tell you something else, she has a darkness in her.
CHAMBERS
You and your imagination. Her and her rules.
She returns to her painting. He returns to his planting.
CHAMBERS
Right out of Grimm’s Fairy Tales.
LORETTE
Those aren’t fairy tales. They’re parables.
CHAMBERS
Alright. Then DisneyLand.
SHOCK
Lorette screams. Chambers rushes to her. She’s pale as Sleeping Beauty.
She points her brush at the painting. Words choke in her throat. He examines the picture.
CHAMBERS
What’s your fantasies done to you this time?
She yanks him to his knees.
LORETTE
There! The window. I didn’t paint that. I would never –in the window. She’s got no eyes. Hollow black holes where her eyes should be!
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Jeff Hall’s Level 1 Horror Emotion Scene
What I learned doing this assignment is that the audience needs and expects to feel these emotions when they watch a horror movie. If they do not feel these emotions, it will not be a good movie.
apprehension/anxiety, surprise, and shock.
Ext. Day – Delapidated House
1. Family pulls up to they’re new house. It is delapidated and bought sight-unseen.
2. They explore the house. Occult symbols on the wall. Candles in a pattern.
3. Hears something in the closet. Started by rodent.
4. Shocked by dead body in the room.
Ext. Day – Delapidated House
An older car pulls up to a Delapidated house.
Ron excited “This is it.”
Ada unhappy “Umm. Can we give it back?”
Zoe apprehensive “It looks scary”
Lynn excited “it has a back yard!”.
The family gets out of the car and approaches. Ron uses a crow bar to get into the front door.
Ada “Maybe the kids should stay out until you make sure its…safe”.
The door gives. Lynn runs in past excited.
Int. Day – Delapidated House
The house is a wreck. Trash and items all over the floor and surfaces. Ron stares at a strange painting of a creature that is half man and half goat. Odd symbols. On the floor, the remains of five candles lay in a large circle.
Ada walks in “Oh my God, I am NOT living here.”
Ron “I know its a mess, but we’ll clean and fix it up. You pick the colors (smiles). Before you know it, you’ll love it”.
Zoe “What’s that sound?”
From the closet, a rustling sound.
Ron opens it, a raccoon hisses. Ron jumps, girls scream.
Ron closes it, “Girls, get in the other room.”
Lynn and Zoe go into a filthy bedroom and nervously close the door.
Ron and Ada user a broom and awkwardly attempt to shoe away the rodent.
Zoe sits on the bed. She pushes the heavy blankets away and uncovers a body.
Zoe screams. Lynn screams. The body decayed…skin on bone. Parts of it eaten.
Ron and Ada burst the door open.
Ada “Oh my God”. She shepherds the girls out of the house.
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